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Cappies review: All Saints Catholic High School presents The Drowsy Chaperone

Author of the article:

Dennis Leung

Publishing date:

April 18, 2019 • 12 minute read

Gangster #2 played by Charlotte Muirhead (left), Kitty played by Elissa Chauvin (middle) and Gangster #1 played by Sloane Goveas (right), during All Saints Catholic High School's production of The Drowsy Chaperone, on April 6, 2019, at Centrepoint Theatre, Ottawa.Fatima Grace Mostoles/ Postmedia

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Director: Shawna Pasini

Zaina Khan, Critic Elmwood School

Picture this: you’re “sitting in a darkened theatre waiting for the show to begin.” As the “curtain is going up,” you see a mundane man in a chair — isolated, lonely, depressed — with a painfully pathetic life and only his favourite record by his side. But wait … do “you hear that static?” It sounds like All Saints Catholic High School’s rendition of The Drowsy Chaperone!

Written by Bob Martin and Don McKellar with music and lyrics by Lisa Lambert and Greg Morrison, this musical farce chronicles a Man in Chair playing his beloved record: the legendary 1928 Broadway production of The Drowsy Chaperone. As the needle touches the record, “the decadent world of the 1920s” comes to life, focusing on the soon-to-be-married Robert Martin and Janet Van de Graaff, the star of “Feldzieg’s Follies.” When Janet decides to sacrifice her showgirl career, chaos ensues as a desperate producer–threatened by two gangsters disguised as pastry chefs — attempts to sabotage the wedding. Along the way, a barrage of characters becomes involved in the impending nuptials: a bumbling best man, a wealthy dowager and her butler, a daft hostess, a misguided “self-proclaimed ladies’ man” and an intoxicated chaperone.

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Jacob Cairns’ portrayal of the introverted yet witty Man in Chair brimmed with charisma and impeccable comedic timing. He epitomized his character through his authentic mannerisms and quirky dancing, remaining engaged throughout the length of the performance. Cairns spoke with clarity allowing him to effortlessly break the fourth wall as he served as the liaison between the show within the production and the audience.

Janet Van De Graff played by Laurenne Tynski (left) and Robert Martin played by Brenden MacGowan (right), during All Saints Catholic High School’s production of The Drowsy Chaperone, on April 6, 2019, at Centrepoint Theatre in Ottawa.Fatima Grace Mostoles/Postmedia

As the glamorous diva, Laurenne Tynski’s embodiment of Janet Van de Graaff radiated with energy and elegance. Her portrayal expressed a plethora of emotions as she displayed her character’s inner-conflict between quitting the showbiz and deciphering whether Robert truly loved her. Tynski’s rendition of “Show Off” exhibited her versatility as a performer as she glided across the stage with poise and grace. Her counterpart, Brenden MacGowan depicted Robert Martin with vibrancy and ease. His performance of “Cold Feet” demonstrated his impressive vocal talent as he maintained a smooth tone while skilfully executing challenging tap choreography.

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Heather Watt in the titular role of the Drowsy Chaperone delivered a compelling performance. Her jaded and withdrawn movements astutely illustrated the Chaperone’s “drowsy” disposition, while her facial expressions conveyed her character’s cynical yet jaunty personality. Watt’s rendition of “As We Stumble Along” was saturated with powerful projection and intensity, showcasing her strong vocal range. Joshua Ossa played the role of the amorous Aldolpho with conviction and confidence. Ossa stunned in his flamboyant and captivating performance of “I Am Aldolpho” through his suave and spirited physicality as the “king of romance.”

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The costume team curated historically accurate looks with the use of flapper dresses, feathered headpieces, and fur scarves. The set team cleverly designed a minimalistic backdrop to cater to various locations such as the Man in Chair’s humble home and Mrs. Tottendale’s estate.

All Saints Catholic High School’s lively production of The Drowsy Chaperone did “what a musical is supposed to do. It takes you to another world, and it gives you a little tune to carry in your head for when you’re feeling blue.”

Jagnoor Saran, Lead Critic Elmwood School

These days it seems we are all affected by a sort of “non-specific sadness,” but in such times it is important to remember that it is better to live than to leave. In their rendition of The Drowsy Chaperone, All Saints Catholic High School shed light on the comfort that musicals can inspire, and showed that “love is always lovely in the end.”

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A Canadian-written parody of early 1920s musical theatre, The Drowsy Chaperone is a show-within-a-show that chronicles a middle-aged agoraphobic as he listens to a recording of his favourite musical. The show farcically follows Janet Van de Graaff and Robert Martin on their wedding day as they face mistaken identities, gangsters, and the comedic consequences of a whole lot of iced water.

The show was anchored by the spirited and zealous musical numbers, which showcased the cast’s unrelenting energy. Songs such as “Fancy Dress” and “Toledo Surprise” saw the whole cast come together, resulting in a cohesive amalgamation of panache, vitality, and well-rehearsed choreography.

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Stepping into the support shoes of Man in Chair was Jacob Cairns. Laced with nostalgia, sardonicism and wonder, his voice was a constant source of emotional expression, resulting in a wistful portrayal of the character. With consistent mannerisms and an accent that never faltered, Cairns confidently encapsulated the essence of the Man in Chair. Laurenne Tynski was the embodiment of Broadway star and soon-to-be-married Janet Van de Graaff, acting with convincing glamour and showing off her multitude of talents. Her sharp skills were exemplified in her renditions of “Show Off” and “Bride’s Lament.” Complementing her was

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Man in Chair played by Jacob Cairns, during All Saints Catholic High School’s production of The Drowsy Chaperone, on April 6, 2019, at Centrepoint Theatre in Ottawa.Fatima Grace Mostoles/Postmedia

Brenden MacGowan, who portrayed the charming Robert Martin. MacGowan’s impeccable dancing was a delightful component of the show, impressing especially in “Cold Feets” alongside Mackenzie Kadar as George.

Joshua Ossa captured the spirit of Latin lover Aldolpho, a self-proclaimed ladies’ man. Expressing flamboyancy with every movement, Ossa provided a wildly entertaining rendition of “I Am Aldolpho.” His repetition of melodramatic movements made for a truly hilarious performance. Heather Watt delineated the Drowsy Chaperone. Watt’s powerful and impassioned vibrato was complemented by her commitment to the character, as she stumbled along the show. Owen Brennan was unflappable in his characterization of Underling. His posh and controlled demeanour was admirable, and was showcased during a rapid-fire succession of spit takes. As the vaudeville gangsters disguised as pastry chefs, Sloane Goveas and Charlotte Muirhead took the stage with infectious mirth and merriment.

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Hair and makeup, executed by Emily Ritonja, Sloane Goveas, and Elissa Chauvin, was an accurate representation of 1920s flapper style. Achieved with ease, it withstood the constant hustle and bustle of the show remarkably. Highlights of their work included Janet’s bold eye looks, and the ostentatious white streak in Aldolpho’s hair. Mackenzie Kadar and Laurenne Tynski designed and decorated the minimalistic set, which depicted the backdrop of the Man in Chair’s home. Its simplicity was effective in allowing the action on stage to stand out and remain the primary focus. Costumes were managed by Elissa Chauvin, who selected functional pieces that reflected each character’s personality proficiently.

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Embracing the inherently complicated nature of producing a piece of meta-theatre, All Saints Catholic High School provided a thoroughly enjoyable rendition of The Drowsy Chaperone. They were successful in their plight, because “at the end of the day, all we really want is to be entertained.”

“Chop the nuts! Pound the dough!” Sometimes, musical theatre seems to make no sense at all, but that is just one of the reasons why it is so beloved. All Saints Catholic High School delivered an upbeat performance of the musical The Drowsy Chaperone, proving that clichés have the power to entertain, no matter how overplayed.

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Written by Bob Martin and Don McKellar, The Drowsy Chaperone is narrated by Man in Chair, who invites the audience to listen to a record of his favourite musical. In it, renowned showgirl Janet Van de Graaff resolves to exchange stardom for married life. When Janet’s former employer Feldzieg is threatened by an investor, he enacts a scheme that puts Janet’s wedding in peril. As this musical within a musical unfolds, Man in Chair provides insider information and commentary while recounting bits and pieces of his personal life.

The cast of The Drowsy Chaperone worked together effortlessly, resulting in a hilarious performance filled with energy and impeccable comedic timing. Their ability to execute thick harmonies with clarity was displayed in large ensemble numbers including “Fancy Dress” and “Finale”. Their impressive synchronicity was exemplified in the finale, when the ensemble became an airplane in flight.

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Janet Van De Graff played by Laurenne Tynski (middle) and Monkeys, during All Saints Catholic High School’s production of The Drowsy Chaperone, on April 6, 2019, at Centrepoint Theatre, Ottawa.Fatima Grace Mostoles/Postmedia

Laurenne Tynski played Janet Van de Graaff with the star quality equal to that exuded by her glamorous character. Her dramatic responses to Feldzieg’s pleas to remain in show business in “Show Off” and her fiancé’s questionable fidelity combined grand gestures, skilful dancing, and even a momentary French accent. Jacob Cairns was a specimen of high comedy as Man in Chair. He fully embraced the idiosyncrasies of an aging musical theatre fanatic, mimicking the speech of the characters in his cast recording and constantly jiving along to the music. As the musical progressed, Cairns subtly revealed glimpses of his character’s underlying loneliness during his monologues.

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As Robert Martin, Janet’s fiancé, Brenden MacGowan delighted with a smooth singing voice and clueless optimism and love for Janet. Heather Watt embodied the Drowsy Chaperone’s booziness and disinterested attitude in her lusty rendition of the anthemic “As We Stumble Along”, in which she gave uselessly vague advice to a troubled Janet. Robert’s overburdened groomsman George was played by Mackenzie Kadar, whose varied portrayal ranged from anxious outbursts to breathless exasperation. Aidan Butler played Feldzieg with risible desperation, complemented by Elissa Chauvin’s coquettish Kitty. As the subservient Underling, Owen Brennan maintained a subdued nature to comedic effect, even when on the receiving end of a series of spit takes.

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The production’s set was dressed with detailed pieces that reflected Man in Chair’s antique tastes in apartment decorations, including vintage show posters and a timeworn box of records. Elissa Chauvin’s colourful costumes evoked the flapper fashion of the 1920s through short, lacy dresses and feathered headbands.

All Saints High School’s production of The Drowsy Chaperone was a farcical celebration of musical theatre’s ability to create an uplifting experience with even the most foolish of scenarios, thanks to its comical cast and cohesive technical aspects.

Raee Sahu, Lead Critic Colonel By Secondary School

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Feeling blue? Don’t worry: the cast of The Drowsy Chaperone‘s got a song for you. All Saints Catholic High School dazzled in its rendition of the Jazz Age farce, with strong vocals, a versatile cast, and comic delivery that never missed a beat.

Originally performed in 1998 Toronto for a bachelor party, the Tony-award winning show is a parody of the musical comedy genre. The meta-musical follows the eccentric Man in Chair as he narrates the story to his favourite cast-album, The Drowsy Chaperone(1928), a ridiculous tale of pre-nuptial “cold feet,” and all the misguided attempts at overcoming it.

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The show radiated enthusiasm and a special flare for exaggeration that reflected the decadent nature of the Roaring Twenties. Energetic, engaging delivery was the cast’s forté — no line too short to be effective, no number too small to be entertaining.

Laurenne Tynski was confident as Janet Van de Graaff, just as a Broadway star should be. Donning a constant flashy grin and a bright, clear vocal tone, her evocation of the showgirl persona was definitely successful. She spoke volumes of her character’s talent through impressively sharp, precise tap movements in “Show Off,” while “Bride’s Lament” saw a natural communication of distress through the eyes, a sparkling show that combined with distinctly conflicting facial expressions for an overall convincing effect.

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Janet Van De Graff played by Laurenne Tynski (left) and Drowsy Chaperone played by Heather Watt (right), during All Saints Catholic High School’s production of The Drowsy Chaperone, on April 6, 2019, at Centrepoint Theatre, Ottawa.Fatima Grace Mostoles/Postmedia

The production’s strength lay both in the togetherness and individual talent of its supporting cast. Jacob Cairns perfectly captured the closed-off Man in Chair, affecting a grainy vocal timbre that reflected the character’s singularity, and a conversational mode of line-delivery dotted with nonchalant hand gestures that never ceased to engage, inducing amusement and pathos in equal measure. Similarly delightful were Heather Watt as the titular Drowsy Chaperone, and Mackenzie Kadar as the overworked best man George. Watt dominated the stage when she sang, her narrow, exaggerated vibrato characteristic of 1920s jazz intensifying the tipsiness of her character, while Kadar immensely entertained through gifted physical comedy, maximizing over-the-top movements and facial contortions to a hilariously melodramatic effect. The whole cast executed “I Do, I Do in the Sky” beautifully — the harmony of the different vocal lines truly resonated in a united success.

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Hair, makeup and costumes worked together to create a Jazz Age-faithful representation of each character. These included a bold crimson flapper dress and lips coupled with pin curls for the star-wannabe Kitty, and a rather simplistic layered white dress and grey hair for the aging Mrs. Tottendale. The set also reflected attention to detail with posters of vintage musicals introducing the vibrant yet secluded world of Man in Chair.

All Saints Catholic High School’s production of The Drowsy Chaperone was a classic example of well-executed comedy. It effortlessly evoked an era when you could walk into a theatre and — just like that — life was no longer blue.

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Christiana Bailey, Critic Redeemer Christian High School

The record was set back to the days of prohibition and frivolous flappers at the Centrepointe Theatre on Saturday night, with All Saints Catholic High School’s production of The Drowsy Chaperone.

Based on the original musical written by Bob Martin and Don Mckellar, the fourth wall was demolished by Jacob Cairns’ Man in Chair to present the hilarious re-examination of a famous 1920s musical with quips from the lone spectator. The show within a show follows Janet Van de Graaff, a flashy showgirl giving up her beloved career to settle into married life, to the financial demise of her employer who plots to prevent the union. Will the star-struck lovers be driven apart? Or will the issue resolve itself in time for the crazed couple to say “I do”? As Man in Chair ever so eloquently states, “Of course it will, this is a musical.” In a story infused with corruption, characters laden with folly, half-witted errors and seductive schemes, it seems unlikely.

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A vivacious atmosphere appropriate to the roaring twenties was accurately captured using a combination of boisterous humour, flapper style outfits, outrageously suggestive comments and infectiously energetic dance numbers. The cast effectively contrasted the sardonic narration of Man in Chair with the portrayal of their characters’ incessantly ridiculous antics and roller coaster of emotions.

Laurenne Tynski’s Janet was exceptional as the modern embodiment a real twenties showgirl, with the performance stamina seen in “Show Off” to prove it. Brenden MacGowan was an extremely versatile dancer and singer in the role of Robert Martin, an earnest, if not naive, oil tycoon, who found himself thrust into a ridiculous excursion on his wedding day. He said it himself as he belted out his signature number (while roller skating blindfolded no less) that he was an “Accident Waiting to Happen”.

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Robert Martin played by Brenden MacGowan (left), Man in Chair played by Jacob Cairns (middle), George played by Mackenzie Kadar, during All Saints Catholic High School’s Cappies production of The Drowsy Chaperone, held on April 6, 2019 at Centrepointe Theatre, Ottawa.Fatima Grace Mostoles/Postmedia

From the top of his aged hair to the bottom of his worn slippers, Cairns’ Man in Chair exuded sardonic humour with frequent interjections of hilarious pop culture references while still sharing a glimpse into his own downcast state. The Drowsy Chaperone herself, portrayed with gusto by Heather Watt, rarely made an appearance without a drink in hand or a dry remark to crack. Sloane Goveas and Charlotte Muirhead convincingly slipped into the role of gangsters disguised as pastry chefs, complete with baked good puns and sinister rolling pin smacks, interjecting yet another source of comedy.

Makeup was fitting to the time, adding dramatic flair to the already excessive look of a showgirl. The sets were successfully compatible with changes from the roaring twenties to Man in Chairs desolate living room. Costumes included everything from sharp and sleek suits to frilled and feathered dresses unique to character, contrasting against the simple yet effective sets.

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The Drowsy Chaperone brought a comedic twist to the times of cocktails and old Hollywood glamour, while maintaining the joyous effects given to those viewing. The unapologetically ridiculous anecdotes and slapstick comedy brought a smile to all, including the previously melancholy Man in Chair, proving musical comedy, or perhaps just the display of human folly, is a sure fire way to beat the blues.

About the reviews:The production at All Saints Catholic High School was reviewed by 35 critics representing 9 schools. The critic discussions were mentored by teacher Tracy Brown of Almonte and District High School and student reviews were edited and selected for publication by teacher Jeff Snyder of Sir Robert Borden High School, who could see only the reviews, not the names or schools of the reviewers.

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Next review: Earl of March Secondary School’s production of Mamma Mia!

About the Cappies:The Citizen and 26 high schools are participating in the Cappies, a Washington, D.C.-based program that uses high school critics to review high school theatre. The program is a unique partnership between the Citizen, the Ottawa-Carleton District School Board and the Ottawa Catholic School Board. Three schools from other boards in the region and two private schools have also joined. The four winners of the lead acting categories will receive a bursary provided by the international law firm Gowling WLG Canada LLP. Follow the Cappies on Twitter @OttawaCappies.

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